The trombone glissandi may be a nod to Schoenberg (Pelleas und Melisande), Bartok (concerto for orchestra) or even to himself (1919 Pulcinella - opening of the vivo) - in general, these may not necessarily be a nod to jazz idioms.
Hello, Is there a Works Cited list for this video that I can access? You reference "Conversations" (although if you're referring to page 21 it sounds like he's talking about a different piece) and I believe the Woody quotes are from Gitler's book "Swing to Bop." I cannot find the source of the 'clandestine notes' that Bruce refers too. I'd appreciate the help!
Cool vid, but honestly I must disagree a bit. The “bluesy” tones sound authentic to me, especially the way it finally resolves to major. And the tones and timbres... the guy must have been listening to big band jazz, at least a little. He had too good an idea of how to blend the sounds together imo. “It’s too perfect.” It’s just a vibe, idk, you gotta feel it.
When I first listened to the Ebony Concerto I was completely startled by the trombones in the third movement. As always, great video!
Hello david.
I'm very happy to find your great channel.
You have a new subscriber, greetings from Spain
Fantastic David Bruce
Hi David, Have you thought of writing for guitar ?
The trombone glissandi may be a nod to Schoenberg (Pelleas und Melisande), Bartok (concerto for orchestra) or even to himself (1919 Pulcinella - opening of the vivo) - in general, these may not necessarily be a nod to jazz idioms.
Hello,
Is there a Works Cited list for this video that I can access? You reference "Conversations" (although if you're referring to page 21 it sounds like he's talking about a different piece) and I believe the Woody quotes are from Gitler's book "Swing to Bop." I cannot find the source of the 'clandestine notes' that Bruce refers too. I'd appreciate the help!
1:06 RIP bass
Cool vid, but honestly I must disagree a bit. The “bluesy” tones sound authentic to me, especially the way it finally resolves to major. And the tones and timbres... the guy must have been listening to big band jazz, at least a little. He had too good an idea of how to blend the sounds together imo. “It’s too perfect.” It’s just a vibe, idk, you gotta feel it.
So did stravinsky not even try?
The question is why,